Movies
New Cast for ‘Prometheus,’ DNA Connection to Original ‘Alien’
Idris Elba (28 Weeks Later, Ghost Rider: Spirit of Vengeance), Sean Harris (Isolation, Creep) and Kate Dickie (Outcast) have joined Noomi Rapace, Charlize Theron and Michael Fassbender in Ridley Scott’s Prometheus, reports the Daily Mail Online. While Scott tells the site that he’s attempting to keep the film’s plot top secret, more information continues to leak out about the quasi-Alien prequel arriving in theaters June 8, 2012.
Speaking of Alien, Bleeding Cool talked to unnamed sources close to production who tease the connection to Scott’s 1979 film.
“[Prometheus] has the Alien aliens in it. The catch, though, is that you might not recognize them – at least, not at first. Remember how the alien took on canine qualities after gestating in a dog? You may even suppose that the first film’s alien was so recognizably humanoid because it had grown in a human. The same applies here: generation by generation, the creature mutates.
“As Prometheus begins, the xenomorph is not too recognizable. Sure, it has that alien DNA that Scott and Fassbender teasingly referred to, but it’s missing … well, it’s missing human DNA. Or dog DNA. All you have to do is imagine how it might look if it were to mix DNA with another alien species … and I think we’re starting to work it all out.”
It has also been rumored that we’ll also see the alien space jockeys from Scott’s breakthrough horror film.
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…
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